Extraordinary Everyday by Artlink Edinburgh and the Lothians

This publication investigates the issues involved in establishing and extending creative relationships between artists and members of the hospital community. A diverse network of people participated including cleaners, ambulance drivers, switchboard operators, patients and ex-patients, managers, scriptwriters, porters, nurses, doctors, actors, architects, neurologists, self-help groups, play workers, and children. Anaesthetist Dr David Wright, social anthropologist Justin Kenrick, journalist Magnus Linklater, artist and writer John Beagles, clinical development nurse Sue Robertson, commissioning nurse Susan Tennyson and Artlinkâ&#x20AC;&#x2122;s projects director Alison Stirling explore the successes, pitfalls and possibilities of collaborative partnerships and the works that emerged. Published by Artlink Edinburgh & the Lothians

EXTRAORDINARY EVERYDAY

EXTRAORDINARY EVERYDAY presents a series of collaborative art projects initiated by Artlink and the Lothian Hospital Arts Consortium as the Functionsuite programme that took place in hospitals across Edinburgh and the Lothians between 2003 and 2005.

ISBN: 0 9551882 0 2 978 0 9551882 0 6

Artlink

Edinburgh & the Lothians

EXTRAORDINARY

EVERYDAY EXPLORATIONS IN COLLABORATIVE ART IN HEALTHCARE

Front inside cover:

Project: Countryâ&#x20AC;&#x2122;s Good at Speed Lewis Aarrestad and James Mclardy at work in the Glasgow Sculpture Studios. April 2005 1

For the patients and staff in hospitals across Edinburgh and the Lothians who embraced Functionsuite with imagination and foresight, supporting new, uncharted creative relationships.

EXTRAORDINARY

EVERYDAY EXPLORATIONS IN COLLABORATIVE ART IN HEALTHCARE

Artlink Edinburgh & the Lothians 2

Preface

Caz McIntee

This book presents fourteen collaborative art projects that took place in hospitals across Edinburgh and the Lothians between 2003 and 2005. The aim of Functionsuite was to establish and extend creative relationships between artists and members of the hospital community. The aim was not to make art about or for the community: it was to make art with the community. Thus began a series of conversations, relationships, and complex communications about contemporary art. A remarkably diverse network of people participated, including cleaners, ambulance drivers, switchboard operators, patients and ex-patients, managers, scriptwriters, porters, nurses, doctors, actors, architects, neurologists, self-help groups, play workers, and children as young as six. In some cases, the artists met with their collaborators just a few times; in others, contact was sustained for over two years. The number of collaborators in each project ranged from just two to hundreds. This book aims to examine the complexity of these relationships and the works that emerged. With the collaborative process taking centre stage, social anthropologist Justin Kenrick joined the project at the outset to study relationships as they developed. His contribution to this book raises questions both about the specific collaborations and about the project’s overall relationship to society. In order to examine the process from different perspectives, three essays were commissioned while the collaborations were still in progress. One of these writers might have dipped into a project when it was going well; another might have visited during a more difficult phase. The timing of their visits allowed them to reflect on the creative relationships as much as the outcomes. Artist and writer John Beagles, journalist Magnus Linklater, and Artlink’s 4

Some of the Functionsuite artists, staff, volunteers, collaborators and participants outside the Functionsuite hut at the Royal Edinburgh Hospital. July 2005

projects director Alison Stirling have each provided insightful texts that explore the limits, achievements and difficulties of the collaborations. The experience of the hospital community is represented in the introduction, in which anaesthetist Dr David Wright reflects on his involvement in the project entitled A Paper Marriage. And clinical development nurse Sue Robertson and commissioning nurse Susan Tennyson – contributors to ...and the trainees, ARoundhead and The Ideal Ward projects – lead a discussion with core Functionsuite artists Kate Gray and Anne Elliot. Most of the space in this book is given to the projects themselves. Many of them culminated in a finished artwork, public event or presentation, but for those that did not, where process remained the central concern, their appearance in this publication takes the place of presentation at a physical location. Finally, Artlink director Jan-Bert van den Berg has contributed an afterword that discusses the organisation’s approach to the project, and ponders on what lessons have been learned. Collaborators, artists, organisers and writers explore and question the relationships and results. Our aim is to give you, the reader, access to the perspectives, processes and artworks, which we hope will inspire your own questions and ideas, and widen the on-going conversation about collaborative art practice. 5

Texts 4

Preface

Introduction

Is Collaboration the Cure?

Country’s Good at Speed

A consultant anaesthetist writes about his involvement in the Functionsuite programme. How can artists work in a hospital context which constantly challenges them to be collaborative?

Delicate Territory

What dialogue can artists have with those whose principal interest is in the process of their own recovery?

Collaborators & Artists in Conversation

Artists and healthcare staff discuss the role of arts within a healthcare context.

106

Lines of Resistance to Human Misery

The ‘C’ Word

132

Collaboration or Situation?

138

Endnotes

141

Project Information

148

Acknowledgements

150 6

Projects

Colophon

The importance of realism for artists within healthcare.

Finding ways to work together.

Gaining a deeper understanding of collaborative arts practice.

Inside covers

A Paper Marriage

Mimic Me

The Ideal Ward

The New Republic

Untold Tales of the Unexpected

Mayday Pavilion

ARoundhead

The Crime of Uglyfication

Stories from the A&E

A Knitting Bee

The Comic Project

107

Unchain the Lunatics: two stories

115

...and the trainees

120

Introduction Introduction David Wright Dr Dr David Wright

I have been asked to give a personal view of Functionsuite from the perspective of someone working in a hospital. There is a certain logic in this, as for the last few years I have enjoyed working with Artlink in their efforts to bring art into the hospital environment and I am involved in one of the current Functionsuite projects. But writing about the projects rather than responding to an artistâ&#x20AC;&#x2122;s questions is a rather different matter. How and where should I start? When faced with such tasks, what I normally do is to look for some background information, then allow a time for processing, before putting down some thoughts. These preliminary musings then generate other ideas and after a while I find myself with a structure and something to write about. My most instructive background reading came from the Functionsuite website www.functionsuite.com. This contained, among many other things, observations from Justin Kenrick, the lecturer from Glasgow University who has been providing a social anthropologistâ&#x20AC;&#x2122;s overview of the project. He emphasises that anthropologists try to see the world from the point of view of the group of people with whom they are working. He cites the example of the Mbuti people from Central Africa and what he calls demand-sharing, where those who have an excess of anything are liable to be asked to share it with those who have less. When this philosophy is applied to the Functionsuite projects, there should be mutual sharing between artist and collaborator which may lead to real co-ownership. Having considered these thoughts, I felt it might be helpful for me to think what an ideal Functionsuite project might be and then compare that with my experience of working with Anne Elliot. Firstly the project should be truly collaborative, clearly formed from elements that have come both from the hospital community in 8

Project: A Paper Marriage Paper marriage is a beekeeping technique used when two colonies of bees are to be united in one hive. Sheets of newspaper in which small holes have been made are placed between the two boxes which hold the colonies. The bees enlarge the holes, but this takes time, during which the bees are able to get used to each other, thus allowing the two colonies to be safely united. â&#x20AC;&#x201C; Dr David Wright

some way, as well as from the artist. Next, it should have a useful impact on the hospital community, perhaps by making people think about issues that they might not have otherwise considered, perhaps by changing attitudes in a positive way. Ideally, the wider that impact and the more helpful its effect on the community, the better. Finally, it helps if the project facilitates the progress that Artlink is making in engaging with the hospital community, rather than making this progress less likely to occur, that is it should produce a switch-on rather than a switch-off effect. With these thoughts to go on, how do I view my working with Anne Elliot? Anne wanted to look at my interest in beekeeping and contrast it with the professional life of an anaesthetist, working in intensive care. My hospital life has been busy, working often at night and weekends and it has been emotionally demanding, with tragic deaths and miraculous recoveries. Out-of-hospital activities, such as walking, gardening and beekeeping, play a vital restoring and supporting role to balance these pressures . Anne started with an email questionnaire and then followed this with interviews, combined with visits to watch beehives being opened in the garden. This allowed her to video hive examination and handling of bees. She also took part in the extraction of honey by spinning it from combs and she watched its subsequent filtering and storing. From this she made a preliminary video, which we watched and then discussed. The discussions were aimed at editing the videoed material, with the intention of producing what we thought were the most interesting and useful images. We agreed that we 9

Dr David Wright was a consultant anaesthetist for 25 years at the Western General Hospital in Edinburgh, until his retirement this year. A major part of his professional life has involved working in intensive care, and interests in art and beekeeping have provided rewardingly different perspectives.

wanted to emphasise the pleasure that resulted from beekeeping, but because beekeeping has a very definite discipline, we felt that it had to be done in a logical way. This would lead from the development of bees in the hive to collection of nectar and pollen and then from the beekeeper’s harvesting of honey to the exhibition of honey and wax at shows. There was discussion about whether it would be a good or bad thing to show long clips of repetitive manoeuvres. We talked of more footage of bees foraging on summer flowers and of trying to get some footage of swarming in early summer, recognising the inherent unpredictability of this. I was given a clear feeling by Anne that the eventual outcome would be something that we had agreed on together, even if this took longer than was originally planned. How does this compare with my ideals for a project, described above? The issue of appropriate collaboration was carefully considered throughout by Anne. She has seemed to enjoy our involvement. I certainly derived great pleasure and satisfaction from showing her things and explaining what we did. Although an important aspect of the project, its resultant impact on others, cannot be assessed until there is an opportunity to see what is finally produced. It is useful to examine what effect it has had on Anne and me. Anne seems ever-positive and comes up with useful ideas each time we meet. I have had to think about what we could do and how best we might achieve it. This has changed as we’ve progressed and bounced ideas off each other. We have thought about how we can compare my busy life in hospital – its focus, 10

Anne Elliot: What do you know about the special properties of honey? Dr David Wright: I have several books devoted to this. There are antibiotics in honey and consistent evidence that wound healing is helped by the application of honey.

order, safety consciousness, discipline and planning – with my beekeeping and the life of the bees. What conclusions can I draw? Being asked to consider my thoughts for a foreword has been most helpful. As well as reminding me of how Functionsuite has come about, it has taken me to the Functionsuite website and given me a broader view of the project. It has, in particular, allowed me to be aware of Justin Kenrick’s emphasis, as an anthropologist, on the importance of seeing other people’s point of view and the concept of demand-sharing. By this, I mean understanding that those who have should recognise their good fortune and see it as a responsibility to share with those who have not. In a more focused sense, it will encourage me to think again about how we can complete something about beekeeping, which really changes people’s lives. This may come through making them aware of the pleasures of beekeeping, or from helping to bring a deeper insight into relationships, whether with other humans or with other creatures. The Functionsuite projects show not only how valuable the iterative process can be, where ideas are repeatedly considered, modified and reconsidered until an optimal endpoint is reached, but also that by giving to others you may gain a usefully different perspective.

Is Collaboration the Cure?

Project: Mimic Me

Is Collaboration the Cure?

Justin Kenrick

At my first real meeting with Kate, Anne and Caz – the Functionsuite team – we discussed the potentials and pitfalls of artists collaborating with patients and staff. How can artists work in a hospital context in a project that will constantly challenge them to be collaborative? Is true collaboration possible, collaboration that doesn’t involve appropriating the experiences of others? Another time, when we were joined by Alison Stirling, Artlink projects director, we talked about the discussions in which all of the artists’ ideas for collaborative projects were held up to scrutiny by Functionsuite and Artlink managers as well as by myself. Is Fuctionsuite’s work about controlling artists’ ideas and controlling their ‘making’? Or is it about trying to shift our understanding of what is going on in any creative ‘making’? Caz: We are asking people [the artists] to expose themselves when they are very raw (when they haven’t yet fully worked out their ideas about what they might do, and haven’t spent time in the hospital) so trust has to be equal in the whole group. Alison: Here artists are expected to change their minds constantly. Normally artists’ ideas are sacrosanct, they are not used to being challenged, and so can easily feel insecure here. In a society that forces competitiveness and sees only individual achievement, the nature of creativity is concealed. As a consequence of my work as a social anthropologist, I believe that creativity is always relational – always emerges out of the interaction between people, and between people and particular environments. In a collaborative project such as this, artists are encouraged to remain open to the equal importance of diverse contributors. But even remaining open to such processes can be frustrating for people more used to focusing on making: 16

Stewart Murray and I talked about watching actors on television playing what start to seem like ‘real’ people – and about how, over time, we might confuse an actor with the character he or she is playing. We wondered if something similar was happening within the psychiatric hospital. – Anne Elliot, core Functionsuite artist

Artist (to Kate): The one thing that puzzles me is that you are here as a visual artist so don’t you want to do your visual artist thing? Kate: In some ways I’m happy to... Artist: You’re an artist, don’t you want to make something? Kate: I like making things, but I also want to make something happen... I want to feel creative in this, but the outcomes change with all the conversations I am having, and I don’t want to put a stop to that yet. Having long been involved in working collaboratively on arts projects in this hospital context, Kate and Anne were in a sense set up as experts in the area. Caz was brought in as project manager, running the complex site-specific situations, contracts and relationships. All three are artists, but in this project the process, the relationships, the management are perhaps the central ‘making’, rather than simply intense backstage work which enables some front-stage production. Relationship is Everything: Mimic Me Putting the relationship with the patients or staff centre stage, engaging with them while waiting to see what will emerge, requires enormous confidence. It can seem as though the artist is indecisive, because that is exactly what they are trying to be. Anne working with Stewart was exactly this, while they developed a whole range of creative possibilities, ‘a plan together of things we could do’. 17

Working with the actors felt good. Sean Hay impersonated me and so did Morna Burdon. You always got feedback on what you were doing. Seeing pictures of myself on video is strange but good, it’s got a positive message. The main thing about it was making friends. – Stewart Murray

Over time, she and Stewart worked out an idea that became two actors mirroring Stewart and Anne on camera. It is a brilliant film to watch. Stewart had normally seemed quiet and shy but here he is absolutely confident and centre stage: Sean (an actor) imitating or improvising in response to Stewart’s movements, words, rhythms – a dance of deepening appreciation. Anne seemed to be much more self-conscious and uncomfortable on the screen. Seeing her working with patients, it was clear that the ability to relate, to live with uncertainty, to develop friendships, to be in there for the long term, was key. How much is placing patients and staff centre stage an example of true collaboration, and how much does it enable Anne to avoid the limelight herself? In the editing process, Anne managed to sideline herself. Is this example the epitome of collaboration or is there something missing? Is the artist’s presence being appropriated and sidelined by the artist herself? Is such a thing possible? The contrast between this strongly collaborative process and individual ‘makings’ was uncomfortable at times for me. Alan Currall – a consultant to Stewart and Anne’s video project – was invited one afternoon to show his video work to patients and staff. The brief video pieces were brilliant and disturbing: documenting solo performances by the artist which reflected on the absence of relationship and on male identity – something Anne was aware Stewart was very interested in. One ex-patient commenting on a clip said: ‘I did the same thing but ended up in here’; he left the 18

Our perceptions as to who we really are and other people’s perceptions of us are both dependent on our position in the hospital. What would happen if we blurred our understanding of ourselves and asked actors to play us? We decided to video the results and show the tapes in the hospital and the wider community. – Anne Elliot, core Functionsuite artist

screening shortly afterwards. There was a strong contrast between these non-collaborative ‘makings’ and the collaborative context they were being shown in: the noise of people interacting behind the sliding doors in this Church Centre in the hospital grounds, and the single figure of the male artist and his voice both on the screen and commenting on his video work. We are used to watching the TV or video screen as if we were merely passive consumers, when in fact watching involves our active creativity, our unstoppable sense making. This becomes obvious as my body shakes with laughter and my eyes open wide with amusement and amazement as I sit with Stewart watching him and Sean – one on each TV monitor – mimicking and dialoguing with each other.

Stewart Murray: What do you

Stewart: A sponge has lots of

Sean: [Off camera] Is there power

Sean Hay: I think too few people

Sean: Like life.

Anne Elliot: [to Morna Burdon] I

think of power?

have it, and the ones that do have it tend to misuse it.

Stewart: I agree with you. Sean: What do you think is good

holes in it.

Sean: Sponges are great things

because they always go back to their original shape ... . I like the colour of the sponge.

about power?

Stewart: It goes with your shirt.

Stewart: You need power to live.

Sean: What does it look like

Sean: Like a personal power, like

an internal power, everyone should have power.

Stewart: Absolutely! Can we have a break?

against your shirt? You’ve got a sponge on your shoulder!

Stewart: Correct. Will we stop and have a break? Yeah, let’s go out for a fag. You look like Sean Hay.

Sean: I am relieved.

in success do you think?

have been thinking about whether there is power in success, what do you think?

Morna Burdon: I think there is enjoyment in success.

Stewart: [Off camera] Yeah,

Anne: I don’t think I know who I am. It would help sometimes. I have learned a lot more about myself since I turned 40.

Morna: Oh have you. So what

have you learned about yourself?

Anne: I never thought I was

that’s true.

perfect, but there is really nothing perfect about me at all!

Morna: What’s your success?

Morna: Have you got a favourite

Stewart: [Off camera] Lift your

imperfection?

head up. That’s better. I can see your face when you lift your head up. I can see it in full view of the camera.

Anne: It has been pointed out to

Anne: Success... you have got

mean.

your own measure of success, but usually it is when other people measure how successful you are. But I like to think I set my own goals... 22

Morna: I don’t know you at all.

me that I blank people. So if you were to say something like...

Morna: Hello ... I see what you Anne: Apparently it’s a very annoying thing to do.

Morna: I think that’s quite a good imperfection.

Project: The Ideal Ward

The proposed site for the new Royal Edinburgh Hospital

>> Shock and/or: The Ideal Ward This particular project involved a series of focus groups that Steve Duval ran with ex-patients and staff, seeking to collectively imagine an ideal psychiatric ward which could potentially feed into the plans for a new hospital. I took part in several of the meetings and found the discussions often difficult, but fascinating.

The group discarded the sixties’ Utopian ideas about mental health care that I had brought with me. They simply wanted a more relaxed and supportive environment and my assumptions about the need for radical change were necessarily blown apart. – Steve Duval, artist

carried out the barbaric practice of ECT 1’ that drew the strongest response from staff, who pointed out that it was still used here and could be a very helpful intervention. This in turn drew a response from some ex-patients who were strongly against the use of ECT, while others were less certain. Steve and I had passed the sign for the ECT ward every time we entered the Functionsuite office: what caused us both to remain blind to the obvious here and so see a complex situation in black and white?

Attendance fluctuated but patients and staff kept coming back. Steve had a strong agenda, seeking to highlight the barbaric history of mental health institutions and hoping that imaginative ideas could contribute to a different experience. He was hoping the patients would challenge the institutions, whereas their focus was more on wanting to be treated humanly. The patients’ focus was on the place being homely, comfortable, with good food, massage not drugs, and there being consideration of others: ‘if you’re not well then you need to be encouraged ... take your mind off things and learn something constructive ... you need to build up relationships.’

Steve’s project came in for much criticism in the Functionsuite meetings. The idea of creating a brief for an ideal ward seemed too awkward and simplistic, and building in collaboration through focus groups seemed to be too inflexible. But Steve said: ‘I’m trying to make an object/tool and want to see how they’ll use it. Will they be responsible to each other?’ He added: ‘I do want control though.’ He wanted a degree of control in the midst of difficult discussion in order ‘to make it safe for nurses and patients to say what they want to say’.

The dynamics in the group could be difficult and Steve’s interventions often led to illuminating contributions, such as when he suggested integrating the hospital into the wider society. One member of staff was aghast at the idea of coming to live full-time in the way patients do. This nurse also felt that the place should not be too ‘ideal’, that it shouldn’t be too pleasant or people will want to stay. But it was Steve’s statement (as part of his brief history of mental hospitals) that ‘until recently this hospital had still

Did this control make for safety or for a lack of listening? Patients did not seek to create a radical ‘non-institution’, but instead focused on wanting comfort and friendship, and on wanting ‘patients to be allocated to psychotherapists who show empathy towards them’. However, these wishes need not be understood as colluding with a conventional and oppressive institution (as Steve and I appeared to see them) but as being about emphasising human relationships. 27

What I think we were being asked to do is think of an ideal ward, but without thinking about the realities of mental illness and behaviours driven by mental illness – but what would be the point of that? What would be the point of having an ideal ward that we could never use? It would not be a ward at all. – Susan Tennyson, commissioning nurse

My sense was that the process needed less background information on institutions and more space to foreground participants’ actual experiences. To focus less on an ideal ward and more (as was suggested in one of the meetings) on ‘What’s the ideal way to get better?’ Steve sought an ideal, staff and patients reacted to this. But so did the rest of us in the Functionsuite meetings that focused on Steve’s project. Anne: We wanted to support and challenge Steve to be flexible but we didn’t inspire him to change, so he didn’t inspire his group to change. He had a fixed idea of the ways in which he wanted the patients to be flexible, but we had a fixed idea of the ways we wanted him to be flexible. If we had focused more on really listening to Steve’s experience, then it seems very likely that the focus groups might have taken a different tack: opening up rather than shutting down the dynamic patterns and processes of lived experience.

Not all ideas were included in the brief. Everybody had valuable things to say, but patients can sometimes be inhibited by staff. Two groups could have been set up. – Kim McLauchlan, focus group member

I expected there would be more opportunities to have a creative input by making drawings etc., rather than the conversation-based sessions. I felt these mirrored too closely the planning meetings the Patients’ Council had already been involved in. There was repetition – like talking about how much space each patient will have. – Ruth Rooney, project worker at the Patients’ Council and focus group member

the brief The Ideal Ward Brief

Introduction to the brief This brief has been drawn up without financial or governmental constraints, and users’ needs have been prioritised. One ward has been designed, plus the facilities the group felt were needed for it. Our intention is not to suggest that the NHS should build the ward, but to propose what users of the facility would ideally like. Elements that are a given We assume that everyone at the hospital is either trying to get well or helping others to get well; that there is consideration for others, be they patients or staff; that decisions on the ward will be made on a consensual basis, unless medical reasons dictate otherwise. Logistics of the space The ward should house no more than 20 patients, and there should be a minimum of 10 staff members. Each patient’s room should be able to accommodate two people but one person would live there; it should have a telephone and the patient should have control over things like light and sound. The building would be on the outskirts of the community in a semi-rural setting with easy access to public transport. The grounds should be secure. Recreational facilities The building would house a small cinema, a library, a café, a massage/relaxation therapy unit, an art gallery, and exercise and kitchen facilities. There would be three distinct communal spaces for patients, each designed to have different amounts of 30

stimulus (sound, visual and social). One space should have a number of tranquil spaces (window alcoves etc.). The grounds outside should house a garden with a greenhouse and a small farm. There should be a forest with paths. Activities There are to be cooking, art, exercise, gardening and farming activities. Professionals in each field who have some training in mental health issues will run these facilities. The facilities will be accessible to patients during normal business hours. Medical facilities There should be spaces for individual consultation with psychiatrists, psychologists, pharmacists, physical therapists and nutritionists. The feel of the space We would like the space to feel homely, spacious, non-institutional, light, clean, modern, comfortable and flexible. The space should have a clear logic to it so that it is easy to use. There should be lots of plants, and furniture should be difficult to move about. There should be positive decorative art with a leaning toward landscapes. Needs of staff There should be a space available for staff to relax and keep their things. Staff should have access to all in-house facilities. There should be a day-care centre for children of the staff. 31

Project: The New Republic

During four two-hour Sunday workshops, the children designed structures that they considered to be ideal, through the creation of stories, paintings and sculptural maquettes.

The children wrote a creation myth for their new republic, featuring fantastic animals who discover a new place at the centre of a forest and begin a new settlement. They also painted pictures of the characters to illustrate the story.

>> Revolution in the Revolution The New Republic project focused on a locked courtyard in St John’s Hospital that is overlooked by a few corridors and the children’s ward: it is an inaccessible sloping wilderness overgrown with trees and shrubs. This is the place Paul Carter wanted to transform through encouraging the children in the ward to come up with plans for a utopia, which would then be translated into a miniature world in the courtyard. Access would probably not be possible, but then ‘the idea of utopia as a place that can never be entered would be strengthened’. Paul proposed that it could be screened off: invisible, except from the balcony of the children’s ward, making ‘The New Republic in some ways exclusive to the children’. Following children’s ideas ‘to the letter’ and visually excluding others, were both attempts to realise the ‘potential for children to take control of the courtyard’. Paul didn’t reckon for the revolution in the revolution. He brought in Beth Cross, a storyteller, and she told the kids an elaborate Celtic creation myth. Listening to it, Paul thought they’d be bored, but they were enthralled: Beth: The story is in their eyes. I tell details that weren’t in the original story but that I see in their eyes. What will catch and what won’t? The kids carried the story into drawings and models of the imaginary world they wanted to create. It involved animals, 1050 wolves, and Disney characters, and the design moved towards a 34

Q. What did you like about the workshop? A. You were able to express yourself freely. You could let your mind wander. – Simon McHarg, aged 13

Jamaican beach hut at night. What they wanted was not some miniature out-of-reach utopia, not a glimpse of a new republic, but a real outpost they could access. One kid said they wouldn’t go in until there was access for the disabled. Later – in my only direct involvement in the project – Paul, Anne and I drove out to St John’s to a meeting with Bill Mooney from estates and Lynn Haddow and Mary Benson from the children’s ward. We passed through dull monotonous corridors to reach the meeting in the locked ward: Paul: The kids in the workshops seemed to be deliberately misunderstanding me: wanting a structure, wanting access. I wanted to cut the trees back; the kids wanted a welcome to the jungle! Bill: I had thought the idea was to make the courtyard a visual focal point that wouldn’t have access? Lynn: But then the kids took over the workshop! Mary: It was young Simon who wanted to make sure that his disabled sister would be able to get out there. Bill: The original idea would be great. Of all the courtyards in the hospital this is the worst one in terms of the practicalities of access. Mary: That Sunday, I was fair chuffed with the kids’ suggestions. Ultimately the question of access became more important, since the balcony (from which the kids would have viewed it) became part of someone’s office and so no longer accessible for the kids.

>> 36

What has surprised me is that the project has continued to develop, invoking many different comments and opinions throughout the hospital. – Lynn Haddow, ward charge nurse

Now there is no general visual access for children if all the kids’ rooms on the courtyard side are occupied. Leaving these difficulties to one side, Paul had found a context for dynamic and fruitful dialogue, and created a space (workshops) to allow collaborators’ imaginations to fire and redirect the project, and space (meetings) to negotiate the possibilities. The process involved enabling creative power, changing direction, and curbing forces of control. In its context – and despite, or because of, the tensions in the project – the process helped momentarily undo our culture’s Catch 22 function. This function continuously splits our experience and the world into the active and the passive, the haves and have-nots. It tells the have-nots that we are powerless, that we can’t do art, tell stories, shape life – that we can only watch. It tells the haves that our worth comes from our power, our money, our artistic genius, our whatever – that we mustn’t acknowledge equality. Both act as traps that cut us off from our ability to relate creatively. Perhaps undoing this Catch 22 requires such revolutions in revolutions.

Project: Untold Tales of the Unexpected

Dr Adam Zeman takes a look at the ‘Electrical Storm, Sketch 1’ by Kate Gray, Functionsuite artist. The fishbowl and built in storm was put together by Kate as a visual metaphor expressing the effect of a seizure.

>> Who are we? Untold Tales of the Unexpected Through discussing epilepsy and consciousness with Adam Zeman – a consultant neurologist at the Western General Hospital – Kate created the Electrical Storm. The piece was called ‘Sketch 1’ to emphasise that it was not a finished piece but part of a conversation. This artwork was her interpretation of a metaphor Adam had used to describe a certain sort of seizure. In a strange reversal of more normal approaches, the project started with a product, an artwork that emerged out of a sci–art dialogue, which was used to enable a process. The project involved Kate exploring metaphors to describe the experience of epilepsy, and exploring the idea of epilepsy as a metaphor for our fear of loss of control. There was a real tension for Kate because, while epilepsy appears to be a surprisingly accurate metaphor for our general condition, it is also a real medical condition. This was evident when Adam suggested she show her artwork to an Enlighten epilepsy support group, but too many were strobe sensitive so she couldn’t do this. She described her project instead, and they talked mostly of loss of control and fear, but few could think explicitly about metaphors. Her plan to get people to describe seizures or auras (pre-seizure feelings), to provide a bank of metaphors for people to draw on (ones that were not necessarily medical or mechanical), seemed to be coming unstuck. Adam pointed out that many of the metaphors Kate did gather were mechanical and technological (cars whose pedals do 42

hands tingle Untold Tales of the Unexpected, Sketch 2

not respond, hard disks crashing, film projectors slowing to a stop and speeding up) while others were experiential (being pecked by a dead hen on a bed of straw, drinking lard and blood out of a beaker). Kate pointed out that if your mind is seen as responsible for your own lack of control you are sent to psychology, but if your body is seen as responsible you are sent to neurology. Adam mentioned that even though most people diagnosed as epileptic don’t have epilepsy, the drugs can still work on them. So does the body/mind split make much sense in this context? This was one of the projects I was most intimately involved in, perhaps because it focused so clearly on the problem of dualism and the question of who we really are. If epilepsy is about absence, then this write-up provides an absence, the voice of people with epilepsy is absent from it. Instead, the metaphors and images that drew my attention were not so much the striking ones Kate gathered from sufferers of epilepsy, but those which emerged in conversation with Adam, Kate, and Maureen [a poet and volunteer at the hospital]. Adam emphasised the individual’s body (he is a neurologist) while I emphasised the ecological and social networks in which we are embodied (I am an anthropologist). Maureen referred to how a physical explanation need not exclude an explanation people might describe as spiritual: 43

Adam: A novelist found seizures a window into a different world before discovering it was epilepsy – did that devalue it? ... Epilepsy marks you out, which is why Hippocrates called it ‘The sacred disease’. A theologian believes that it gives her spiritual insights. Maureen: You can’t rule that out. Kate pointed out that a spiritual understanding can be interpreted as being in opposition and superior to the everyday, rather than illuminating the everyday: Kate: It doesn’t have to be spiritual or sacred to be meaningful – spiritual or sacred seems to me to mean ‘removed from everyday life’. Maureen: For me sacred can mean a particular place that has meaning for you, a top of a particular hill for example. Sacred means that the place has deep significance. Kate: I want to value the ordinary, the everyday. Are such alternative explanations of similar phenomena mutually exclusive or mutually enlightening? Again, we see a Catch 22 playing out in our culture: where two perspectives – rather than being seen as potentially mutually enlightening – become opposed by the dualism we have been so deeply instructed in. But the paradox that both Maureen and Kate point to is perhaps the essence of all these projects: an attempt to refuse the empty promise of individual talent and achievement 44

and to instead remain open to uncertainty, collaboration, and the extraordinary nature of the everyday. If alienation is the illness, is collaboration the cure? Collaboration and Creativity: juxtaposing humans As Beth the storyteller said: When people say ‘I can’t tell stories’, I say ‘I defy you to go the rest of the day without telling a story. If someone asks you how your day was say “No”’ Although celebrity art would persuade us otherwise, creativity is not a substance inhering in the made object or the making artist. Creativity is perhaps better understood as being stretched by the unexpected, being challenged to juxtapose and relate previously separate experiences, or to consider as separate those aspects we had always assumed entailed one another. Juxtaposing artists, patients and staff – and putting the making process on pause long enough to let something unexpected emerge out of the relationships between participants and their particular environments – was the purpose of the Functionsuite research process. Did it succeed? To the extent that we recognise both the continuity and the disjuncture between what was expected and what happened, it succeeded.

Collaboration and Compassion: back in hospital with the humans It is strange to be back in the Western General Hospital, not as an anthropologist and researcher but as a patient. ... I sit up in bed with the drip dripping through the needle into the vein in my arm in this windowless ward where four of us lie. I felt terrible when I came in, that feeling of dread, no-one seemed to know what was wrong or why. ... Collaboration ... here it is in ward 43b where nurses and doctors from all over the world, where support staff and patients (mostly Scottish), play out an absence of being in roles, or interact in conscious awareness of each other’s humanity and so create a shape-shifting community. This location may not be the ideal ward but it is never the ward that needs to be ideal: it is people’s idealness that needs recognising. Those consultants and doctors who have been highly trained into a particular kind of relationship in which the personal is absent hardly get a taste of reality, of the humour, the pain, the people, the healing – the nurses and support staff who pause, the patients on pause, certainly do. ... The hospital is co-created by those here who care and whose care is revealed in the thousand tiny acts of compassion that make the world, that have made me healthy enough to get up from this seat – my medicines delivered by a compassionate Italian – and go home. What makes collaboration work? I wonder... 46